El Carro

Car pictures. Always fun. Including snaps:

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That’s my Camaro ZL1, at 400 ISO, 1/400 sec, f/16.

Does anything occur to you when you see those numbers?

Yes, it’s the Sunny Sixteen rule.

Anyway, the car has a lot of detail, like the badges:

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So here is my all-new Camaro. Flash TTL, flash bounced behind me,

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That is right, a little toy. And it’s my car’s exact colours, too. And that toy has surprising detail. The same badges, for a start.

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Note: Over the next while, long term that is, I plan to use this toy as a prop in pictures all over the place, so stand by!

Always carry a camera dept: drinks in the above restaurant, and they looked pretty enough to take a snap:

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(35mm lens, manual mode, 1/320 sec, 1000 ISO, f/2.2.)

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Poor Dandelion Gets the Boot


The year was 1990. “The Simpsons” is aired on Fox for the first time. GM launches the Saturn car. The most complete skeleton of T-Rex is found in South Dakota. Crayola retires eight colors and replaces them with eight others, including the cheerful Dandelion.



Now 27 years later, Dandelion is no more. Crayola is booting the color out of the crayon box without explanation or apology. The slot where Dandelion stood in the 24 crayon box will be filled by another color – yet to be announced, but rumored to be a shade of blue. Is this fair? What did Dandelion do to deserve being cast aside so unceremoniously? Look at the other colors and see if you agree with the move. My personal preference would be to dump the sickly orange or the pukey purple, not the carefree Dandelion. It’s a blow to my childhood memories.

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Graphic Means & The Transition to Desktop Publishing

If you enjoyed following along through design history as we celebrated Adobe Illustrator’s 30th birthday (posts here and here), you’ll likely dig the upcoming Graphic Means documentary. You may have heard the buzz about it over the last couple of years. The film is now ready and Typekit will be sponsoring a series of upcoming private screenings and panels in Seattle, San Francisco, San Jose and New York. We’re also hosting a pre-screening cocktail reception before the public world premiere on April 15th in Seattle.  If you’re in town we hope to see you there or you can catch one of several upcoming showings around the world.

The documentary, Graphic Means, explores graphic design production of the 1950s through the 1990s—from linecaster to photocomposition, and from paste-up to PDF.


To wrap up Adobe’s look back at Illustrator, we briefly chatted with the film’s director Briar Levit about the role the program had in the evolution of typography in graphic design.

In your research for the film, what did you find your subjects had to say about Illustrator?

People I interviewed for Graphic Means were pretty focused on the differences between working by hand, and working with digital tools. Lettering designer, Gerard Huerta, who works in Illustrator the most of any of my interview subjects, had a hard time switching over at first, mostly because he found he was having to correct the work of folks who had switched over to the computer, with his superior hand rendering skills in the early days. But things changed when he realized one of his heroes was making really good use of the computer (Illustrator):

“…a teacher from Art Center, Doyle Young, a wonderful man who did beautiful lettering and taught at Art Center for 30 years came here to the studio and he brought with him a drawing that he had done, a printout of a job he was doing for Prince, the musician that recently passed away. It was this very decorative, beautiful, illustrative piece of lettering. The moment I saw it, I knew I would have to change over, because here was a man who was working on the computer and knew how to do it. I brought my Mac in here and I just started trying to teach myself.”

What do you think the main impacts Illustrator had on typography in particular?

Illustrator has allowed designers to make experiments at a speed that encourages many more variations (compared with doing lettering by hand). This is huge, as we are now able to take a design or piece of lettering much further and wider before deciding on a final direction.

What are your personal recollections about Adobe Illustrator?

I don’t have any anecdotes, really. But I can say that as a design student I remember just being blown away at the idea that I could draw something in illustrator and scale it infinitely, and not lose any resolution quality.

 

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In Czech, instruments and music releases are all about extended family

It’s a wonderful thing to find kindred spirits. It doesn’t matter if they look like you, if you share a gender or an age, or if they come from down the street or around the globe.

And that’s the experience a lot of people have had when coming in contact with Bastl Instruments and the underground music and instrument enclave of Brno, Czech. Bastl are known for their cute compact desktop synth hardware and quirky modular line. And small builders are themselves tight-knit, but there’s more to it than just what Bastl Instruments as a maker provides. There’s a sense that this is a platform, a collective – a family. And that family can broaden and encompass all kinds of other makers and artists.

The prolific YouTuber Cuckoo took a trip in February to Brno in the Czech Republic to go behind-the-scenes with Bastl. It’s an expansive video, sprawling in the same way that Bastl itself does. There’s founder Václav Peloušek, artist HRTL, builder Pete Edwards, and many more:

I think it’s worth considering how much younger – and how much, you know, more Czech – this gang are, relative to what had bee norms in the synth creation business. Bastl are then a link, between a new generation and the old, between Czech Republic and the rest of the world, and in doing their own research into Czechoslovakia’s own music technology legacy, one that had previously been hidden behind the Iron Curtain and Cold War bias.

synthPop makes a sneak appearance: Pay particular attention to the appearance by Pete, because sneaked in at around the 34-minute mark is a revelation of his new synth prototype, dubbed synthPop. That’s the first real glimpse we’ve gotten of that new creation; I’m suspecting we’ll get the full picture when the crew visit Berlin’s Superbooth synth gathering later this month.

The Thyme effects processor also makes a cameo in advance of its public Superbooth appearance.

Cuckoo also played a live set, at the cozy, hip venue in town, Kabinet Muz. Less you think this is all about showing off a lot of gear, just one Elektron Octatrack makes up the whole rig – but the jam is great:

Looking beyond the picture of the boxes they make, Bastl are branching out into starting a record label, dubbed Nona. (For an example of builders doing music releases on the side, see also: Koma Elektronik’s AMOK Tapes.)

Vaclev has told CDM a bit about the releases to check out on their label, Nona Rec.

From the mission statement:

Nona records is a label founded by the people from Bastl with a main focus on releasing music of people from Bastl and beyond. It is about establishing communication between the crew and musicians worldwide with the goal of making awesome music! The main interest is to bring all sorts of open minded electronic music/experiments to open minded people.

Vaclev elaborates on what they’re doing and why – the project is a little like an electronic music startup rendition of Google’s 20% time. It’s about achieving some creative life / work balance. Vaclev tells CDM:

What we actually do is that we pay people from Bastl for making releases on Nona – so they can take time off and they can make music. It is a way of providing security for the people to focus more on the music they want to make. The people already built their instruments, they started to perform on the Bastl Jam [live event] series, and now, the last missing piece is making releases. It’s a funny attempt to build the music scene from ground up. ?

Once we have the releases we want to promote the people to play abroad.

That is the plan, sort of. It really comes from the Bastl Jam series when we really saw that performing monthly gives the people so much push that the music got super interesting lately.

There are two new releases, too. Family Matter is a compilation of Bastl’s own crew and friends.

The boys and girls featured include three people from Bastl (Outin, Tom DJambo, and Paseka ) and more friends and musicians from around the world, including Myako, “a great DJ and producer from Paris,” and hiT͟Hərˈto͞o, Czech-born and Berlin-based producer (and as it happens, friend and collaborator of mine).

Also new is a collaborative album by two Sardinian musicians, Stefano Marconi and Emanual Balia, “who explore the abstract side of techno,” Vaclev explains. “They’re active in the field of experimental music and they recorded their first album 607f/s during their artistic residency at Bastl for the Nona label.”

There’s also Czech up-and-comer Kadaver:

Check out, as well, the EP of Hanz Tisch, who Vaclev describes as a “local bedroom producer who is exploring the childish universe through the style inspired by Aphex Twin.”

Superbooth is the banner event from legendary Berlin synth shop Schneidersladen, but the Bastl kids have their own event series going, too. Noise Kitchen Synth Fest will return to their hometown Brno, Czech, but will Europe tour, as well, reaching Berlin, Prague, and Vienna.

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